The Bristolians Pev(erelist), Asusu and Kowton present a compelling compendium of their mutant bass sound. The structures here are nominally sci-fi techno, yet a destructive low-end current runs through nearly every track. Despite its natural austerity, subtlety is not lost on the trio. Asusu's Sister uses ethereal pads over the percussive racket. Kowton's Jam01 cleverly employs filtering to make a 909 drum track sound fresh. Pev's revisit of his collaboration with Kowton, Beneath Radar, has the sonic precision and economy of Boddika's recent work.

Rough hewn house cuts. The title track slides banging lo-fi percussion and the expected sample up against a euphoric soul sample. The b, Rubber Hands, is brilliant. Corroded hi-hat sits atop addictive filtered synth/bass lead. Closer Andy Asteroids is a hardware jam less focused on melody than the previous tracks.

Welcome vinyl issue of several tracks that were previously only available on the expansive Musik for Autobahns CD. That comp was no pastiche of retro styles, rather a true update of the komische sound. As such, the artists here keep things unpredictable. LA dude Suzanne Kraft begins with a loping beat that's more PCH 1 than Autobahn, ending with ominous feeling chords that darken this paradise. Marcus Worgull and Motor City Drum Ensemble present a live jam based around a hypnotic arpeggio, while Acoustic High-End Research's contribution is a drumless track which adds 80s Japanese modernism to the list of formatives.

Assured new release from the LA group on Holy Mountain sublabel Intercoastal Artists. Completely beautiful record that works a subtractive process to take the listener from idyllic club to deep home listening. The title track is an optimistic Hacienda warm-up with several Voodoo Ray-reminiscent breakdowns. Oasiics slows things down with stately string-synth and a delayed sax solo. Closer Nature Lovers uses a Cluster-indebted synth arpeggio and again lets the sax shine.

Focused debut full-length from the prolific Domenic Fernrow (Rainforest Spiritual Enslavement, Prurient). The feel differs from VS's wandering tape missives - primarily, much of this music seems suited for techno dancefloors. The bleak conceptual framework remains. VS channels death rock influences on Enter Paradise and Jet Fumes Above the Reflecting Pool, yet the latter has the booming, gated snares which typify the album's percussion. Not the Sun of the Desert Storm, But the Child of Chechnya and the title track are melody voids over charred techno percussion for a punishing sound that would fit in well alongside Ancient Methods.

Big banging house tracks from the Still Music proprietor. Get Loose uses raw, propulsive percussion in a way similar to Omar S (specifically Psychotic Photosynthesis) and uses a octave reaching bassline and cowbell to winning effect. The title track is straight acid techo, with an abbreviated 303 line and late night stab. The music fits well within the tradition of Derradji's hometown Chicago, as well as the excellent Kill Yourself Dancing comp recently released on his label.

Deep, dubby house from Matt Tolfrey featuring the legendary Marshall Jefferson. The instrumental provides a pulpit for MJ to explain the mechanics of house and also indict the new generation of producers who are too slavish in their devotion to the sounds Jefferson and co. stumbled upon almost 30 years ago. Geeman provides two heavy remixes - the deep vox mix retains elements of the original while the raw mix lives up to the name.